Posts Tagged ‘robert l white’

Three Sheets to the Wind
by Gary F. Bell and Robert L. White
Directed by Gary F. Bell
Stray Dog Theatre
June 4, 2026

Mike Wells, Joseph Garner, Sarah Polizzi, Jeffrey M. Wright
Photo: Stray Dog Theatre

Stray Dog Theatre’s newest show is a world premiere, written by Artistic Director Gary F. Bell and his longtime writing partner Robert L. White. Three Sheets to the Wind strikes me as a bit of a throwback to 1980’s comedies like those of Larry Shue, although it still needs a bit of work, and there is more talk than action in many moments. Still, the cast is well-chosen and enthusiastic, and there are some genuine laughs to be had here, although it could benefit from some more stagings and workshops to tighten up the script. There are also a few technical issues that can make the story occasionally difficult to follow. 

The story is supposed to be set in the present, although there are references made by some characters that make it seem like it’s earlier, especially since there’s a character who keeps mentioning having worked in the 60’s and 70’s, which would make her older than the character seems to be presented. Also, the structure suggests a 1980s or possibly early 90s vibe, reminiscent of a sitcom from that era. The story follows Oliver (Joseph Garner), a single gay man living in Greenwich village who is close to his neighbors, married couple Cal (Jason Meyers) and Maddie (Sarajane Clark). Cal is Irish for no apparent plot reason. After some establishing conversations, it’s made clear that Oliver needs a new roommate, and has made an arrangement with ex-boyfriend and television psychiatrist Aaron (Jeffrey M. Wright) to live there for a while and help Oliver with his financial situation. Another ex-boyfriend, Danny (Mike Wells) is also brought up, and soon Danny shows up unexpectedly with some quirky actors in tow, hoping to work on developing a musical that he and Oliver had been previously writing together. The newcomers include the diva-ish Larina (Sarah Polizzi), whose plot purpose seems to call her to be as annoying and demanding as possible. Joining her are Abe (Zack Huels) and Jake (Brady Stiff), a pair of actors who just want to get on with the rehearsals and have become increasingly tired of Larina’s antics. The situation seems to pull Oliver, Aaron, and Danny together to a degree, but there’s also an Act 2 revelation involving a character called Zolda (Liz Mischel) that again, essentially consists of a lot of talking and explaining, which is hard to understand at times since the sound quality is inconsistent in this production. 

There are some good ideas here, and the general idea comes across reasonably well. There are some funny characters and moments of laughter, but the script needs some tightening and the situations need to focus more on showing than telling more often than not. There are also some characters, like Cal and Maddie, who disappear for long stretches and don’t always seem to have enough to do. The cast is enthusiastic, though, and Polizzi especially shines as the annoying, self-obsessed Larina, and Garner, Wells, and Wright have good moments together as well. Mischel does as well as possible with a surprise character at the end, and plays two other smaller roles as well, and the rest of the cast does about as well as they can with the material. There are some entertaining moments here, and the play has a good deal of potential.  I think I can see where it’s trying to go, but it’s not exactly “there” yet. It’s also a good deal longer than it needs to be, and could benefit from some trimming.

Visually, the play has a fine sitcom-type set by Rob Lippert and excellent costumes by Colleen Michelson and wigs by Priscilla Case. Tyler Duenow’s lighting is excellent, and Justin Been’s sound is good for the most part, although there some acoustic issues with such a talky play being able to be understood. The pacing could use some improvement, as well, but there are some genuinely funny moments.

For the most part, Three Sheets to the Wind comes across as a promising but not all-there work in progress. There are some funny situations and characters, but there’s more talk and less action than there should be. The cast is excellent, for the most part, though, and there are plenty of laughs to be had. It’s worth seeing for its potential and effort.

Joseph Garner, Sarajane Clark, Jason Meyers
Photo: Stray Dog Theatre

Stray Dog Theatre is presenting Three Sheets to the Wind at Tower Grove Abbey until June 20, 2026

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Spellbound: A Musical Fable
Music. Lyrics, and Book by Gary F. Bell and Robert L. White
Directed by Gary F. Bell
Stray Dog Theatre
August 8, 2015

Paula Stoff Dean (center) and the cast of Spellbound Photo by John Lamb Stray Dog Theatre

Paula Stoff Dean (center) and the cast of Spellbound
Photo by John Lamb
Stray Dog Theatre

Spellbound: A Musical Fable, an original musical based on a blend of fairy tales and folk legends, closes out Stray Dog Theatre’s 2014-2015 season. A work that’s apparently taken the better part of 20 years to produce, and co-written by Stray Dog’s Artistic director Gary F. Bell, Spellbound is definitely a treat for the eyes, with elaborate sets and colorful costumes and some inventive staging. Still, a show is about more than how it looks, and this one needs work. Although it boasts a strong cast and some interesting ideas, the show ultimately comes across as confusing and somewhat cluttered, and still needing a great deal of work.

Although director and co-author Bell provides a long list of folktale influences on the show in his director’s note in the program, Spellbound is essentially “Cinderella” meets “Little Red Riding Hood” by way of A Midsummer Night’s Dream. The basic story is mostly “Cinderella”, though. The show gives us a young protagonist, Arabella (Meadow Tien Nguy), who has grown up being mistreated by her evil stepmother Layla (Deborah Sharn) and selfish stepsisters (Maria Bartolotta as Muchaneta, Eileen Engel as Kokumo). She has a father, the well-meaning but dominated Bangabobo (Patrick Kelly), but he’s being controlled by Layla through use of a magic “tea” that she forces him to drink. Layla, who practices black magic and wishes to rule the mythical land of Samera, has a plan that involves trying to marry one of her daughters to the newly-returned prince, Adama (Chris Tipp) and eventually overthrow his father, the land’s ruler Changamire (Zachary Stefaniak).  When Changamire, desperate to find a wife for his son, listens to the advice of fairy queen Inaambura (Paula Stoff Dean) and hosts a Carnivale at his castle, Layla sees her chance. This being a Cinderella story, of course Arabella wants to go, and of course she’s not allowed. The twist is that now Arabella is sent on a deceptive quest involving a Bengal Tiger (also Tipp). The story continues from there with a few twists and turns, but the outcome is fairly predictable to anyone who’s seen any version of the Cinderella story.

I find it difficult to describe this play as anything other than cluttered. It’s three acts and over three hours long, and contains many elements that are not essential to the story, and some of the fairy tale elements have been done before (and better) elsewhere, such as in Stephen Sondheim’s Into the Woods. There’s a prologue scene that doesn’t seem to connect to the rest of the story, and the songs are mostly unmemorable.  There are some standout moments, though–especially the well-staged and entertaining “The Tiger’s Tango” sequence in Act 2. Nguy has an excellent voice and strong stage presence as Arabella, showing off her vocal prowess in the 80s style power-pop ballad “Wings of an Angel”, and displaying good chemistry with Tipp as both the Tiger and as the aimless Adama. It’s strange that this is billed as a journey of identity acceptance when Arabella seems to be the most confident person around, and the character who really changes the most is Adama.  Tipp gives a sympathetic performance, and his scenes with Nguy are the real highlights of the show. Otherwise, there are good performances from most of the overcrowded cast, with Kelly, Dean, Sharn and others giving fine performances, although there’s kind of an air of “dress rehearsal” about a lot of the performances and staging.

The real star of this show is its production values. The whimsical, colorful set by Rob Lippert and stylish, quirky costumes by Engel and Bell are the real highlights here, putting the audience into the magical world much more than the actual story does. There’s also some spectacular lighting by Tyler Duenow that helps maintain the mystical, ethereal atmosphere of a wondrous fairy tale.  This show is worth seeing simply for the spectacular visuals.

Overall, I would say that, while Spellbound has its moments and is generally entertaining, it’s a story with a little too much going on and with ideas that have been done better elsewhere. Bell did say in his pre-show speech that the show is still being worked on and changed throughout its run, and I hope those changes manage to make the story clearer and less cluttered. Still, it’s an impressive effort from the large cast, and especially the top-notch production design. This show’s real accomplishment is visual, creating a world with a stunning sense of style. I just wish there was a little more magic in the story.

Chris Tipp, Meadow Tien Nguy Photo by John Lamb Stray Dog Theatre

Chris Tipp, Meadow Tien Nguy
Photo by John Lamb
Stray Dog Theatre

 Spellbound: A Musical Fable runs at Stray Dog Theatre’s Tower Grove Abbey until August 22, 2015.

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